The film has been sleeping on the shelves for more than a year because of the Covid: “Aline”, the false biopic of Celine Dion by Valérie Lemercier is finally released on the screens Wednesday.
“Aline” is the story ofAline Dieu, little girl with a golden voice born into a small, large family in Quebec, spotted in adolescence by an impresario, Guy-Claude who would become her Pygmalion… and the love of her life.
“Any resemblance to existing people“is absolutely not fortuitous. Without restoring all the details of Celine Dion’s life and career, Valérie Lemercier nevertheless follows the main lines, with loyalty, even devotion. The sight of this curious project leaves puzzled. Who is “Aline” specifically aimed at? Die-hard fans of Celine Dion risk being taken aback by the freedoms that the French actress takes with the “real life of their idol”, and seeing Valérie Lemercier, 57, embody Celine from an early age thanks to special effects digital … Weird, did you say weird?
As for the admirers of the humorist Lemercier, author of a tasty one-woman-show, they would look in vain for the slightest hint of second-degree humor in “Aline”, which never derides the kitsch excess and the candy-pink universe of Celine.
Ultimately, “Aline” seems mostly there for please Valérie Lemercier, who satisfies the fantasy of dancing and singing in the manner of his idol. We hope for her that her pleasure was intense, because for the viewer, it is rather the embarrassment that dominates.
Mike Milo, old texan cowboy, fallen rodeo glory, is mandated by his former boss to cross the border to find Rafa, the son that the latter had, thirteen years before, with a Mexican. The teenager, left behind by his mother, has become a little thug who indulges in clandestine cockfights with his bird called Macho. Mike finds Rafa, and begins for the veteran and the novice a long journey back to Texas …
At 91, Clint Eastwood has decided to return to service in front of the camera to play Mike. Even if finding the quickdraw of the great Clint is always a pleasure, we must admit that this “Cry Macho” furiously resembles the “film too much“from the director of” Gran Torino “(where he played his last big screen role). Why? Because the script of this lazy” road movie “is sewn from white thread, because Eduardo Minett (Rafa) declaims his lines like a bad comedy class, and because the script is full ofimprobabilities (Seeing Clint land a fatal punch at a vigorous Mexican gangster verges on the ridiculous). Want to continue being an Eastwood fan? Spare yourself the vision of “Cry Macho”.
He is one of the rare contemporary Italian filmmakers to win a Palme d’Or: Nanni Moretti won the Cannes trophy twenty years ago with the very moving “The son’s room”. He returned to the Croisette last July with “Tre piani”.
read also: Nanni Moretti back in Cannes
Once is not custom : “Tre Piani”, “Three floors” is not based on an original screenplay, but adapted from a novel by Eskhol Nevo. The action of the book took place in Tel Aviv, Moretti moved it to Rome. Three floors, that means three apartments, three stories that intersect.
First there is the portrait of an elderly couple – Nanni Moretti plays a judge, Margherita Buy his wife – in conflict with their son who, drunk, ran over a pedestrian. Then there is a younger couple, whose husband is traumatized by the fact that his daughter has been taken to the neighborhood park by an old neighbor, and who can not help imagining things … There is finally a young mother, perpetually alone with her baby because her husband has gone to work sites. These characters, with their sufferings, expressed or contained, meet in the same building.
With the sobriety known to him – Moretti has never been a great staging stylist, always preferring to favor the truth of the characters over sophisticated camera effects – the filmmaker explores themes that are dear to him : mourning, guilt, the fragility of human relationships.
But we are still hungry, because the author of the delicious “Caro Diario” and “Habemus Papam” has accustomed us to distill in his films a bittersweet humor, a subtle irony which truly constitute its signature.
But in “Tre Piani”, there is unfortunately not a hint of humor, but without generating much empathy for the main characters. The modesty that it establishes creates a distance; we watch these destinies take shape over ten years, but we ultimately remain very exterior facing this chronicle. Pity.
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Hugues Dayez’s critics: “Aline”, the delirium of Valérie Lemercier